This internship report by Caleb Yu is to complete the program of the Arts Administration at UNO. The intern describes the nature of his work and suggests the possible future development of the UNO Fine Arts Gallery.

Magister Artium - MA / My research considers the vessels of select women ceramists in and from rural KwaZulu-Natal and reflects on the changing contexts in which their work is utilized, consumed and displayed. The emphasis of my research is on the significance of ceramics in cultural practices and how this has changed or been maintained due to altered social and political circumstances and the changing dynamics of research. Additionally, when ceramic vessels are purchased by tourists, collectors and patrons they are subjected to a range of dialogues between maker and buyer. Finally, vessels may be selected to be displayed in exhibitions or held in collections of museums and galleries; once again, then they will be spoken about and they will speak to us on different terms. Each one of these movements in the life of a pot is reflected in the artist’s consideration of form, pattern, balance, shape, colour and symmetry of the vessels. Similarly, each one of these steps in the process engages with a different type of audience in a dynamic and significant way. I investigate how the authors of these vessels become involved in and negotiate a dialogue between themselves, their work and an exterior context that always projects its own voice about the artists and their work.

This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.

The research seeks to identify the opportunities online collaboration may deliver to the Victorian Regional Gallery Network (VRGN). The research further seeks to identify the Commonwealth and Victorian State Government policy context that contributes to realising these opportunities and the type of eBusiness models that could be applied to the online environment of the Victorian Regional Gallery Network. The problem statement of the research argues that in order for the Victorian Regional Gallery Network (VRGN) to remain sustainable in the long term, it must develop collaborations within and external to the gallery sector to deliver value adding solutions for income generation and to cultural product, while seeking new business opportunities offered by the use of Information Technology and the Internet. The range of products offered by the galleries and their geographical distribution encourages collaborations to be undertaken, and in doing so, serves the customers of the VRGN who are increasingly becoming users of the Internet and who are expecting content online. Failing to consider the changing factors that online technologies present for conducting business and communicating common issues across the sector as a whole, puts the VRGN at risk of becoming redundant to its consumers (audience/customers), and a liability to its stakeholders. The major research question is as follows: How can the Victorian Regional Gallery Network (VRGN), as a provider in the cultural and entertainment sector, deliver cultural product to its audiences (customers) through the use and application of collaborative online networks and their related e-business technologies? The research seeks to address this question by investigating the 14 regional galleries that comprise the Victorian Regional Gallery Network, by reviewing their operations and relationships with their stakeholders, and by suggesting a variety of electronic business models that may assist in engaging in collaborative online networks. The scope of the research has three broad objectives: 1. the analysis of the role, function and activity of the Victorian Government in supporting collaborative online networks 2. the identification of an appropriate collaboration model that uses eBusiness and that can be applied to the VRGN 3. the analysis of the typical operating environment of the VRGN and the minimum requirements that will enable the implementation of a collaborative online network At the heart of the research therefore is an understanding of the factors that contribute to a collaborative online network, so that the galleries and the VRGN can efficiently and competitively conduct business and communicate common issues amongst its members. The case study design was selected, as the researcher systematically gathered in-depth information on a single entity, i.e., the VRGN. The methodology deployed in the research needed to effectively gather and collect relevant information from a variety of sources within the VRGN and hence two main approaches were utilised. The first was a questionnaire using the Likert and Dichotomous scale to collect data regarding the operations of the gallery, and the second included a series of interviews which were developed to address specific questions to the key staff within the main target groups of the research. The conclusions that can be drawn out of the combined research include: i. The use of internet technology by the VRGN does not appear to be limited by technical issues. This provides a technological foundation on which to develop possible I.T. and collaborative online solutions for the VRGN ii. The technology required to develop collaboration in the first instance is not a barrier to implementation as it is common technology iii. Knowledge of the characteristics of collaboration including understanding the dynamics of trust, communication, equality, strategic alliances, knowledge distribution, negotiations and incentives are essential if it is to effectively and productively occur in the gallery network. The findings of the research indicate that collaboration currently occurs in the galleries, but it is also hampered by a culture that can sometimes work against the sector as a whole. The creation of strategic alliances amongst the galleries has also been found to be successful, but the advantages of these alliances are yet to be realised or tested across the VRGN iv. A Collaborative Online Network model has been proposed which may enable the gallery sector to share information, encourage communication, coordinate training and professional development opportunities and develop sector-wide research and development projects. The development of the collaborative online network would also assist in addressing the core issue of the research question concerning the provision of cultural product to state audiences through an online environment, and providing incentives to reduce cost and share resources v. The eBusiness model that will assist the VRGN in remaining competitive and active could use the Online Sales model, and will have the opportunity to exploit vertical aggregation of the Victorian arts industry to develop a portal or 'vortal' where the VRGN and its products and services can be marketed on a singular basis to the internet audience. The Online Sales Model also assists in developing a revenue stream for the galleries which may assist in its long term sustainability

This dissertation is an account of an internship in painting conservation undertaken at the Auckland City Art Gallery during the period January to August 1983. It has been divided into three parts with six associated appendices. Part one discusses the functions and facilities of the Conservation Department. The functions being classed into two main categories, that concerned with the Auckland City Art Gallery and that concerned with National Conservation. The facilities of the Department are not only the equipment and materials of the Conservation studios but the equipment and design around the Gallery that facilitate the task of the conservators whether it be through treatment or by preventative means. Part two covers the programme of work carried out. As indicated in Part one, the conservation department has many other functions apart from the treatment of works of art, and as a member of the department during my internship, I was involved in a number of these which are discussed in this section. This includes packing, meetings and visits to other institutions. Part three deals with the conservation treatments carried out. Section one summarizes the methods and materials used, section two lists the works treated in the order that they were begun, and section three covers the condition and treatment reports for each work. Finally, six appendices have been included which augment information in the text such as a description of the present renovations to the Auckland City Art Gallery and a brief history of conservation in New Zealand.

From November 30th, 1981 to May 28th, 1982 I was employed at the Conservation Laboratory of The Australian Museum. I also completed a contract for Australia Post, under Sue Walston's supervision, for two weeks in July 1982 and worked on two private projects at Conservation Art and Library Services, Leichhardt. During my time at The Australian Museum preparation for the opening of a major gallery, "The Abelam - a people of Papua New Guinea" was concluded. A large proportion of my work at the Museum was related to this event. The Australian Museum places a high priority on environmental monitoring of storage areas and one of my duties was to participate in this monitoring programme. Shortly before the opening of the new gallery, flooding was discovered in two showcases in the Aboriginal Gallery affecting some sixty artefacts. The entire conservation staff was involved in emergency procedures, removing the objects to a stabilising environment until further work could be carried out. As the work load occasioned by the Abelam Gallery eased, I was placed in charge of the followup work on the flood-damaged artefacts. The contract with Australia Post was to prepare moulded fibre-glass backings for a collection of Aboriginal bark paintings. This plus my work at Conservation Art and Library Services, a private conservation laboratory, have provided interesting perspectives on the differences between the public and private sectors. Overall, my experience over the last nine months has been quite diverse, encompassing preventive, remedial and cosmetic conservation, practical and administrative work.

My employment in the Paintings Section of the Conservation Department of the Australian National Gallery began in June 1983, however my internship did not begin until March 1984 under the supervision of Allan Byrne. At that time, the paintings section was divided, rather arbitrarily, into: paintings pre-1940, headed by Ilse King and; paintings post-1940, headed by Allan Byrne. Because of the departure of the then senior curator of conservation Dr Nathan Stolow, Allan Byrne became acting senior curator. When Allan Byrne took up the position of lecturer in paintings conservation at C.C.A.E., Ilse King then became acting senior curator and my supervisor; the division within the painting section was then disbanded. Jac Macnaughtan departed temporarily from the department to undertake study and to work at the Tate Gallery and at the Courtauld Institute in London leaving me with the paintings section. I was fortunate enough to have at first one assistant Simon Hartas, then two assistants, Mark Henderson and Les Cormack to help with the task of backing, framing and restretching paintings. There was no formal training programme for an intern - work was undertaken as it came into the department and as it was allotted. For the sake of simplicity and ease of handling the dissertation is divided into 3 parts: Part 1 includes the Functions and Facilities of the conservation department. Part 2 includes an outline of painting conservation practice within the gallery and details of conservation work undertaken. Part 3 comprises a project on some of the properties of hardboard. As the gallery has in its collection a considerable number of paintings on hardboard, to augment my knowledge and perhaps give some insight into the nature of hardboard, this project was undertaken in conjunction with the internship.

To make computations on large data sets more efficient, algorithms will frequently divide information into smaller, more manageable, pieces. This idea, for example, forms the basis of the common algorithmic approach known as Divide and Conquer. If we wish to use this principle in planar geometric computations, however, we may require specialized techniques for decomposing our data. This is due to the fact that the data sets are typically points, lines, regions, or polygons. This motivates algorithms that can break-up polygons into simpler pieces. Algorithms that perform such computations are said to compute polygon decompositions. There are many ways that we can decompose a polygon, and there are also many types of polygons that we could decompose. Both applications and theoretical interest demand algorithms for a wide variety of decomposition problems. In this thesis we study two different polygon decomposition problems. The first problem that we study is a polygon decomposition problem that is equivalent to the Rectilinear Art Gallery problem. In this problem we seek a decomposition of a polygon into so-called r-stars. These r-stars model visibility in an orthogonal setting. We show that we can compute a certain type of decomposition, known as a Steinercover, of a simple orthogonal polygon into r-stars in polynomial time. In the second problem, we explore the complexity of decomposing polygons into components that have an upper bound on their size. In this problem, the size of a polygon refers to the size of its bounding-box. This problem is motivated by a polygon collision detection heuristic that approximates a polygon by its bounding-box to determine whether an exact collision detection computation should take place. We show that it is NP-complete to decide whether a polygon that contains holes can be decomposed into a specified number of size-constrained components.

To make computations on large data sets more efficient, algorithms will frequently divide information into smaller, more manageable, pieces. This idea, for example, forms the basis of the common algorithmic approach known as Divide and Conquer. If we wish to use this principle in planar geometric computations, however, we may require specialized techniques for decomposing our data. This is due to the fact that the data sets are typically points, lines, regions, or polygons. This motivates algorithms that can break-up polygons into simpler pieces. Algorithms that perform such computations are said to compute polygon decompositions. There are many ways that we can decompose a polygon, and there are also many types of polygons that we could decompose. Both applications and theoretical interest demand algorithms for a wide variety of decomposition problems. In this thesis we study two different polygon decomposition problems. The first problem that we study is a polygon decomposition problem that is equivalent to the Rectilinear Art Gallery problem. In this problem we seek a decomposition of a polygon into so-called r-stars. These r-stars model visibility in an orthogonal setting. We show that we can compute a certain type of decomposition, known as a Steinercover, of a simple orthogonal polygon into r-stars in polynomial time. In the second problem, we explore the complexity of decomposing polygons into components that have an upper bound on their size. In this problem, the size of a polygon refers to the size of its bounding-box. This problem is motivated by a polygon collision detection heuristic that approximates a polygon by its bounding-box to determine whether an exact collision detection computation should take place. We show that it is NP-complete to decide whether a polygon that contains holes can be decomposed into a specified number of size-constrained components.

This thesis has been done in ROM (Royal Ontario Museum) located in Toronto Canada. It focuses on learning in two parts of the museum. It tries to find out how much each part is effective in terms of learning. Studies have been done in the Digital gallery, which has been equipped with digital video projector and workstation that allows visitors to interact with the collections in 2 or 3 dimensional spaces while they are watching the presenting film. The rest of the study was in Hands-on laboratory, which allows students to examine artifacts and discuss their findings .The method was used in this research is Concept mapping .In Digital gallery, 24 schools surveys in the form of pre-post- test by help of the concept mapping method has been done. In Hands-on laboratory, 12 schools have been studied by using the combination of interviewing and written pre post-test of concept mapping.